PICTURE SPEAK

Birju Maharaj (below left) and Pandit Kashalkar

“SPIC-MACAY has taken music to unknown territories of India. If there has been an increase in the number of music listeners, the credit goes to them,” says santoor maestro Pandit Shiv Kumar Sharma. “Years of hard work put in by selfless volunteers has ensured the survival and growth of Indian classical music,” says Kiran Seth, national chairman, SPIC-MACAY.

The programme from June 18 to 23 covers all modules like classical music, folk performances, talks by eminent personalities, screening of films by great film directors, yoga, crafts workshops and lecture-demonstrations.

The inaugural concert will be by Parween Sultana (vocal) and Pandit Birju Maharaj (kathak). Eminent artistes at the convention include Pandit Shiv Kumar Sharma (santoor), Pandit Kishan Maharaj (tabla), Guru Raman Kutty Nair (kathakali), Guru Kalamandalam Gopi (kathakali), Dr M. Balamurali Krishna (Carnatic vocal), T. N. Krishnan (violin), Pandit Ulhas Kashalkar (vocal) and others. There will be lecture-demonstrations by painter Anjolie Ela Menon, Ustad Fahimuddin Dagar (dhrupad), J. Gurappa Chetty (kalamkari), Saswati Sen (kathak) and Purulia Chhau as well as film exhibits of directors like Satyajit Ray, Akira Kurosawa and Charlie Chaplin.

The best treat is the overnight concert on June 22 by Ustad Abdul Rahsid Khan (vocal), Shahid Parvez (sitar), T. M. Krishna (carnatic vocal) and others. Get soaked in Indian culture.

-By S. Sahaya Ranjit

PICTURE SPEAK

Kapur as a priest torn between god and his carnal desire

-By Nirmala Ravindran

PICTURE SPEAK

Roy’s depiction of Christ

MUMBAI Suman Roy’s current repertoire is dominated by the images of Jesus Christ in meditation defined by the colour of the space that borders Christ’s face, giving it an aura and a mood. At variance with his religious background and his flamboyant character, Roy’s depiction is almost like an abstraction. The background colours in wash effect create a mystical impression. Roy says, “My palette differs and changes in each portrait.” At Jehangir Art Gallery from June 19 to 25.

-By Swati Mathur

PICTURE SPEAK

Hazel (left) and Mumtaz

MERA PEHLA PEHLA PYAAR
Starring: Hazel, Ruslaan Mumtaz
Directed by: Robby Grewal

It is a tiny little film with no stars and a story of young love. Neither is a promising premise. But there is something endearing in its simplicity in a world where sex is supreme. Mumtaz is the son of an actor (Anjana Mumtaz) but he is not a star son. He is, however, quite delightful as a young boy falling in love with the new girl in class.

The milieu is borrowed by Grewal’s own adolescence and the school doesn’t look as if it has stepped out of an Archies comic book. The story needed a little more energy, though the climax—a frenetic 20-minute trip on the Parisian metro to Eiffel Tower—tries to make up for it.

This is not exactly Dilwale Dulhaniya Le Jayenge but it is an effort to show parents as they are now (friends rather than fuddy-duddies), fights as they happen (invariably in discotheques and always about a girl), and love as it grows (on borrowed credit cards and daddy’s chauffeur driven cars). Grewal, who made the taut Samay, knows his subject. Now he needs a little more style.

-By Kaveree Bamzai

PICTURE SPEAK

A Prasad creation (Top) and Fareeda Khanum

DELHI Sufi is the flavour of the season in the capital—be it sufi fashion, food, dance or music. The Indian Council for Cultural Relations presents a three-day festival of sufi music from June 28-30. The line-up is impressive. On the opening day, listen to ghazals and thumri in the full-throated voice of India-born Begum Fareeda Khanum from Pakistan. Tannoura Sufi (Derwish) Folk and Dance Troupe from Egypt perform their colourful whirling dances on the following day. The festival closes with Pakistani Sufi and contemporary singer Adil Barki’s performance. Great music should have melody, poetry and rhythm, and the festival promises just that in abundance. At Kamani Auditorium.

-By S. Sahaya Ranjit

Ram Narayan Foundation Rs 250

Brij Narayan, the son of sarangi maestro Pandit Ram Narayan, chose to play the sarod instead of his father’s favoured instrument. He has developed and perfected a style influenced by various features of Narayan’s sarangi treatment, such as his taan sequences blended with some features of Ustad Ali Akbar Khan’s sarod playing style. In this album Narayan plays the morning raga Bilaskhani Todi. The jod highlights the rhythmic phraseology beginning with the simple and culminating into layer of complex expression. It is followed by raga Mishra Piloo. The flight of improvisation has the elements of romanticism and playfulness.

Kosmic Music Rs 125

ALBELA SAJAN AYO RE

Hindustani vocalist Rashid Khan is sheer talent in terms of vocal range and virtuosity. He honed his prowess at a very young age under the tutelage of Ustad Nisar Hussain Khan of the Rampur Sahaswan gharana. In this album he sings short compositions and gives a flavour of the Ahir Bhairav, Desh, Chandradwani and Bhairavi ragas. He says the Chandrahwani raga is his invention by combining the purvanga of chandrakauns and the uttaranga of Kaushidhwani. His new raga has not been played by other musicians yet. The melodic elaboration in the upper octaves is brilliant. His singing is a combination of emotional content and melodic elaboration. Explore an array of emotions.

-By S. Sahaya Ranjit

Index